You fill up the frame with feelings, energy, discovery, and risk, and leave room enough for someone else to get in there.

You fill up the frame with feelings, energy, discovery, and risk, and leave room enough for someone else to get in there.

We all experience it. Those moments when we gasp and say, Oh, look at that. Maybe it's nothing more than the way a shadow glides across a face, but in that split second, when you realize something truly remarkable is happening and disappearing right in front of you, if you can pass a camera before your eye, you'll tear a piece of time out of the whole, and in a breath, rescue it and give it new meaning.

I believe that street photography is central to the issue of photography—that it is purely photographic, whereas the other genres, such as landscape and portrait photography, are a little more applied, more mixed in the with the history of painting and other art forms.

They [photographs] teach you about your own unraveling past, or about the immediacy of yesterday. They show you what you look at. If you take a photograph, you've been responsive to something, and you looked hard at it. Hard for a thousandth of a second, hard for ten minutes. But hard, nonetheless. And it's the quality of that bite that teaches you how connected you were to that thing, and where you stood in relation to it, then and now.

Attempts by some teachers to adjust school curricula to incorporate programs that children watch on television suggest a new means of 'leading' children by running after them as quickly as possible.

I photographed the entire thing in color because to photograph it in black and white would be to keep it as a tragedy. Because there is a tragic element to photographing, in this case not war, but the collapse. It was just destruction.